Saturday, 2 May 2026

LIST 252 – 02/05/2026

Hello again,

What a pleasant few days it was for team TML last weekend.  

More through luck than skill, considering the tickets had been bought 51 weeks earlier, the two of us drew the middle session of the O'Sullivan/Higgins match on our more or less annual pilgrimage to the World Snooker Championships last Sunday.  Our O'Sullivan curse struck again, however, as he's ultimately lost the match on all three occasions we've seen him now.  Sorry, Ronnie fans.  Our fault.

The search for anything snooker-oriented to open this week's List didn't appear to be going anywhere fast, with The Len Ganley Stance by Half Man Half Biscuit and V/VM's dismantling of the BBC snooker theme having already been used in the past.  

Luckily, I then remembered that a Peel Session track by The Male Nurse had made copious mentions of snooker, and of taking pills of some description to aid the protagonist's cueing action.  A quick bit of further digging, and here we have it, in the process also giving this Country Teasers spin-off a belated (and sadly in the case of the late Alan Kenneth Crichton, posthumous) first List appearance.

Two days before that, it was the previously oft-mentioned Lande Hekt gig at 95 Mary Street in Sheffield.  A first time for me at this venue, it was, and a very favourable impression was given. The bands evidently appreciated it also; Lande remains wide-eyed with wonder at each discovery of small, cool gig venues at least the equal of those closer to home in Bristol and Exeter.

The headliners, already played on here twice in the run-up to last Friday, were as tight and confident as you'd expect off the back of so many recent outings, and dedicating a song to one's cat is always going to win points with me.  

The new discovery on the night for me was support act Mumble Tide (at least, that portion of Mumble Tide not either otherwise engaged or stricken with hand, foot and mouth disease), purveyors of most pleasing electronic folk with occasional shades of anything from 1980s singer-songwriter Annabel Lamb to The Middles Ones' electronic DIY pop side project EXPENSIVE.  

That was the live offer this time, at least, whilst some of this Bristol act's recorded output adds downbeat, downtempo inflections almost as a nod - deliberately or not? - to their home city's musical heritage.  See what you think below.

The identity of this List's A Loved Album was teased, maybe not all that well, during the Boards Of Canada write-up last week.  From present-day Warp Records output it's back to one of their earliest recording artists we go, and an album in Frequencies by LFO originally released just two years into that enduring Sheffield-born label's existence at the end of July 1991.

Very simply put, this was the first electronic album I bought which felt like a cohesive set of fully-formed, memorable songs, rather than a handful of extended dance tracks or crossover-hit-plus-interminable-filler.  None of which is to diminish its power as something which can be danced to, albeit that's easier to achieve with some tracks than others in the same way as, say, a Kraftwerk long-player might be.

It's intelligent, without being the copybook definition of Intelligent Dance Music, a term first coined contemporaneously but perhaps more applicable to the likes of labelmates Autechre.

It's respectful of its musical antecedents, naming many of them in the album's opener What is House? (I've seen it posited online that this was an act of hubris by Gez Varley and the late Mark Bell, inferring that LFO's place was among them on the pantheon of electronic greats; but that seems a reach to me).  

It's playful, clanking and squelching whenever clanks and squelches feel like the right thing to unleash.  

It's the whole chocolate box of genres within electronic music up to that point in time, from the early 1970s pioneers floaty cloud synths of Simon from Sydney to the Wells/Newman-esque abrasions of We Are Back via the female vocal snatches of You Have to Understand.  

One of the greatest compliments I can accord Frequencies is that, despite having already plundered it for all of the singles and better-known tracks in pre-hiatus Lists (the aforementioned Simon from Sydney would be used to flog VW Golfs in the early 2000s), I wasn't in the least bit hard pushed to find another four songs I love sufficiently for this week's feature.

Meanwhile, the deeper dives into the other recesses of my music collection since I reactivated That Music List continues to surface historical omissions which simply cannot stand any longer.  The Male Nurse aside, there's three more of them this week alone.  Astonishingly, today marks the first ever appearance in the blog for all of Rachel's, Chapterhouse and - most surprising of all - Gnac.

Rachel's were a delight when I saw them at the Shellac-curated renewal of All Tomorrow's Parties at Camber Sands in 2002.  Precise, stirring, beautiful pieces for which the oft-bandied about term modern classical has never struck me as wholly adequate.  Nor, however, has chamber music.  Rachel's were simultaneously both, and more.

Gnac aren't cut from a completely different cloth to Rachel's, though here the instrumentals are more impressionistic, magical-realist and often quite playful (Eighteenth Century Quiz Show, which I will definitely share on here one day, really does in places sound like a version of the Countdown theme rendered two centuries too soon).  

Reminder to self that checking out sole Gnac operator Mark Tranmer's work as Vetchinsky Settings with James Hackett of The Orchids remains on the to-do list.

The inclusion of Chapterhouse is apposite, my Facebook timeline currently awash with pictures and video grabs from this last week's UK tour to commemorate 35 years of their Whirlpool album (you know, the one with the curled-up fluffy cat on the front cover).  

Getting to any of those gigs - even Leeds or Manchester - was never really in the offing for me given this past week's work and personal itineraries.  However, as with the other bands covered on here in recent Lists whose every output back in the day inspired the most venomous of attacks from the merciless music weeklies, I'm delighted they've had the fortitude to come back, put themselves out there once more and find their way (back) to the people who genuinely love them.  Rachel Goswell's guest appearances will have counted as a nice surprise also.

Other highlights to note this week may, depending on your tastes, include:
  • an appearance by Angelica, the pre-Lovely Eggs vehicle of Holly Ross.  It was briefly tempting to place this under the very occasionally seen Yes, They Did Other Songs As Well feature, but it's probably just me who knew them exclusively on account of Why Did You Let My Kitten Die? until alighting upon this other track on a Ladyfest UK compilation.  Projection, dear boy, projection.
  • a tour de force new track from Raye, whose This Music May Contain Hope album is vying with Hemlocke Springs as provider of the biggest and brightest pop statements of the year so far.  Joy could not be a better named song.
  • the first sighting of The School since TML returned.  Another reminder to self to contact them to make sure they'll be playing That Boy Is Mine within their Pop at the Lock set in July; the happiness of my kids, whose first music festival it will be, might well hinge on it.
  • from my 1990s days in German darkwave/EBM/industrial clubs, a contribution from longstanding scene staple And One.  As with fellow displaced countryman Kavus Torabi, a penny for the thoughts of Iranian-born And One mainstay and frontperson Steve Naghavi these days.
  • a single by mid-1980s to early-1990s Liverpool four-piece Kit, vehicle for the charismatic Campbell Sangster and brought back to life through the wonders of Bandcamp and a physical reissue of the single shared here.
  • to finish, the near ten minutes’ worth of total, unadulterated joy (that word again) which rounds off Stevie Wonder's 1982 singles compilation Original Musiquarium, Dizzy Gillespie cameo and knowingly bobbins rap outro and all. The music equivalent of a plus sign, its length qualifies it for the Long Goodbye feature, and additionally frees up a berth for when the week of its chart entry gets covered in Straight In At later on this month.  I don't just throw this thing together, y'know...
J xx


Click on the video or link to play each tune (links last checked as all working 30/04/2026).




I LOVE POP MUSIC AND I WILL FIGHT YOU


A LOVED ALBUM: LFO - Frequencies (1991)

IF WE DO, WE’LL KEEP IT ALIVE


DOCH DER COUNTDOWN LÄUFT


WIR SIND DIE NEUEN GÖTTER

A LOVED ALBUM: LFO - Frequencies (1991)




THE LONG GOODBYE

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Saturday, 25 April 2026

LIST 251 - 25/04/2026

Hello again,

The analysis is already in full cry.  Of course it is.  

First the marketing website updated with Morse Code, then the mailed VHS tapes of disembodied voices and radio sounds, then the flyposters.  The narrative has quickly moved from whether the first Boards of Canada album in thirteen years is soon to land (with the release online in the past week of Tape 05, this became obvious) to what subliminal messages as to its content could be gleaned from these assorted teasers.  

Is Inferno an album primarily concerned with the apocalypse?  Death cults?  The cosmos?  Recollections of a past that has gone and was never quite there in the way people remember it anyway?  All of the above?  None of it?

I'm quite happy to leave all of these questions to minds more predisposed towards being able to pick such things apart than mine, in truth.  Boards Of Canada remain an act whose work I've enjoyed hugely, but primarily on musical and aesthetic bases rather than an intellectual one, for three decades now, and I anticipate no change in that position in the months to come.

Tape 05, an alternative title for what will evidently be the track Father and Son on the album proper, at once gave me all of the things I want and like from the Sandison brothers' output.  Warmth, beauty, nostalgia and familiarity, but foreboding, disquiet, sadness and menace at the same time also.  Rare is the music which can do all of that for me at once, much less - as here - sometimes within as few as three and a half minutes.

Boards Of Canada were due to appear in a List before very much longer anyway, as one previous offering also happened to be (and continues to be) my favourite song of the year in which it was released.  See if you can guess which song that might be; I'll say no more for now, other than it struck me as the perfect, perpetual soundtrack to any urbex documentary on a long-dead city or resort.

Instead, with the Inferno campaign having rapidly overtaken my original intentions, Tape 05 takes its place within a Session of Sorts feature also containing three other personal favourites from somewhat further back in this duo's catalogue, including one of a couple of John Peel-oriented highlights this week.

The release of Studio Kosmische's pair of covers of Cluster's Creme Caramel barely a week before Tape 05 came out, meanwhile, is nothing more than a coincidence, but in the circumstances an inadvertently timely one.   

Creme Caramel's original parent album, 1974's Zuckerzeit, was lauded at the time (and since) as being more accessible and concise than the kosmische duo's earlier works, and ultimately laid down a blueprint for so much of what has followed in electronic music.  

No Zuckerzeit-era Cluster, no early Warp Records roster, as one Quietus reviewer has opined?  That feels instinctively like a bit of a reach, and I've listened to too little Cluster to date to be dogmatic about the matter anyway, but perhaps I need to put in a few hard yards with their back catalogue nevertheless ahead of next week's choice of A Loved Album, if that's not giving away too much about what it might be.

I wouldn't be sure what historic debt the Benelux 'ardcode techno acts of the late 1980s and early 1990s presumed to owe the likes of Cluster, inspiration likely being derived more from Detroit than Deutschland.  It's a period and genre of music dear to my heart all the same - invigorating, energetic and that little bit menacing to me in a way that I'd imagined punk would have been to those at the appropriate age to be informed (or knocked sideways) by it at its own birth.

Quadrophonia had already received a Belgium-only release by ARS Productions subsidiary Streetbeats in 1990, but for which it would have been not only a That Music List Single Of The Year selection, but the oldest such selection.  

Instead, our paths met when it crossed over to become a UK top 20 hit the following spring (it peaked at #14 in April 1991), that enormous synth-orchestra break and pulsing, neurotic backing affording me the greatest frisson of excitement about a dance music record in the charts since Stakker Humanoid almost two and a half years earlier.

Whether by accident or design, Quadrophonia's wider-scale ARS issue (reissue?) preceded the appearance in the charts of T99's Anasthasia by just a month, thereby briefly giving the impression of Olivier Abbeloos, the musical brains behind both, as the most ubiquitous and exciting producer of that time period.  

It couldn't last, and didn't, and none of Olivier's many lily-gilding remixes of the first-named track in the intervening 35 years have served to change that.  Nonetheless, it's still really nice to observe him speak so fondly about the original in the various present-day interviews with him online.

It's not all assorted keyboard prodders of various vintages in this week's List, rest assured.  You might also like:

  • A reminder from Colour Me Wednesday to all male practitioners or consumers of music to get their respective knuckles off the floor and cut out the mansplaining.


(Colour Me Wednesday - Going Up the Country, Church House Inn, Congleton 10/06/2017.  Pictures are author's own)

  • The Fourth Act, something brand new from Bradford, which to these ears sends off major Elephant 6 vibes.  These could be fun to watch in the short term at least, though please don't turn into the type of people the Doveton sisters above would despise, lads.
  • The original incarnation of Credit to the Nation's breakthrough single, actual Nirvana sample and all.
  • The Anchoress delivering some well-aimed ripostes to all of the unsolicited advice offered to her in the before, during and after of becoming a mum.  As (relatively) mature parents to have suffered losses along the way ourselves, this track hits home.
  • More Peel-endorsed (and in the clip found, Peel-introduced) mashup/bootleg/bastard pop fun, this time from an act in Picasio that I've always assumed may be something to do with Cassetteboy.  They certainly farmed the first three or four releases on the Barry's Bootlegs label between them, at least.
  • The Itch seemingly sticking the boot into the Yard Acts of this world (and I'm not utterly unsympathetic to their view; get BBC Radio 6 Music on the wrong day, and sprechgesang fatigue can rapidly become a thing), but remembering to ally that invective to a sufficiently catchy tune.
  • Stereo Total.  Because there just aren't enough songs in German about threesomes.
  • Firmly in the "have I really never featured this track in a List before now?!?" category, the opening track from the first of Aberdeen's two EPs for Sarah Records, and for my money still their absolute career highlight. 
  • A Godley & Creme track which - and this is no word of a lie - I heard once or twice about forty years ago, never knew it was by them or what it was called, and had utterly forgotten about until someone shared a link to it not so long ago on a Facebook presence for Cardiacs fans.  Those opening bars of the repeated xylophone motif opened the floodgates of the memory instantaneously.  I love the power music has to lie in wait for you like that, for decades at a time if needs be.  There'll be another List selection - appropriately enough for the My Forgotten 80s... feature - in the coming weeks with which I have shared an almost identical relationship.
  • Finally, my favourite Lionrock song by a wide margin (as well as a track loved by my former university colleague Darren Hampton - hope you're doing well, sir), and although slightly too short to qualify for The Long Goodbye on the track length criterion I set for that feature, nevertheless a perfect way on which to end another busy List.
J xx


Click on the video or link to play each tune (links last checked as all working 22/04/2026).
Click here for a directory of updated older Lists.




A SESSION OF SORTS: Boards of Canada


IF WE DO, WE’LL KEEP IT ALIVE


A SESSION OF SORTS: Boards of Canada


I WAS AN ARMCHAIR RAVER

A SESSION OF SORTS: Boards of Canada

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Saturday, 18 April 2026

LIST 250 - 18/04/2026

Hello again,

Another List compiled a bit in advance and published in absentia, as work commitments briefly take me up the M18 and wolds routes to Scarborough today (Saturday).  

Whilst I graft, there must be a very strong chance that the rest of the family will while away an hour or so in the very arcade that stars in the Lande Hekt video I've shared this week.  What are the chances!  Doubt that Lande herself will still be there, but our paths will cross this coming week nevertheless, with a gig at Mary Street Live in Sheffield in the offing on Friday.

Something else for me to enjoy in my adopted home city in the coming days, alongside the snooker.

Mention of the Since Yesterday documentary last week proved more timely than I could ever have imagined, for at practically the same time as I was loading List 249, I learned that another landmark indiepop doc, My Secret World: The Story of Sarah Records, has finally been made available to view on YouTube.

As you might expect, me and this documentary go back some way.  My wife and I, along with a few Sheffield, London and Bristol-based chums, were all present at its world premiere at the Arnolfini in - where else but - Bristol back in May 2014.  









(My Secret World: The Story of Sarah Records launch event and exhibition - Arnolfini, Bristol 03/05/2014.  All pictures, including a solo performance by Julian Henry of The Hit Parade and Sarah Records' co-founders Matt Haynes and Clare Wadd, are author's own)


Just as expansive as Lucy Dawkins' tremendous film itself was the accompanying exhibition in the Arnolfini's gallery, bursting with Sarah Records exhibits such as posters, ephemera, test pressings, demo tapes and setlists.  Oh, and reproductions of some of the shocking, aggressive reviews to which the label's roster was routinely subjected by the worst excesses of a then frequently deeply misogynistic alternative music press.  

We've touched on these attitudes a couple of times already since That Music List came back, of course - both in the context of Heavenly's return, and last week's treatment of some of the Scottish girl bands featured in Since Yesterday.  

One of the most telling moments for me when watching My Secret World the first time (and I assume it's survived the cut) features The Field Mice mainstay and bassist Michael Hiscock being rendered almost inarticulate with disgust when invited to consider the press.  These things can live with the recipients, the victims.  

It speaks highly of Secret Shine in particular that they've been able to own the late Steven Wells' indefensible suggestion in the review for their Loveblind single, namely that they finish themselves off with a warm bath and a razorblade, rather than be crushed by it.  I'm not sure I could be that strong.

Bright, quick-moving, well put together and accessible, My Secret World is able to work its way chronologically through the 100 Sarah singles releases - occasionally diverting to consider albums, gigs, Bristol, Sarah's place in the context of late 1980s/early 1990s music and politics (and music politics), etc. - with a pleasing lightness of touch, and no small amount of humour.  

Watch for the creeping list of band credits every time Harvey Williams appears; and for Leeds' favourite son, the by 2014 Arizona-based Stewart Anderson of Boyracer (I think he's since moved to Oregon) home on the ranch.  (You might also spot me in the credits, presumably a thanks for supplying Lucy with some tape recordings of Matt Haynes and Clare Wadd in conversation with the likes of W****y and L****q.  Totally and utterly unexpected, but a very kind gesture).

Two of Sarah's very earliest singles find their way on to this week's List - the inclusion of the The Golden Dawn track which gave My Secret World its name entirely deliberately, the inclusion of a track by The Sea Urchins as part of our occasional Indie Top 20 reminiscence feature (it appeared on Volume 5) pure coincidence.

If three and a half decades ago isn't far enough in the past for some of you, help is at hand, with both the Isn't That...? and Straight In At features taking in the 1970s this week.  

In the case of the former, yes, it is that song off of the Easyjet adverts.  Yes, Adriano Celentano's lyrics are all made-up gibberish.  And yes, that was entirely by design, the celebrated Italian singer effectively pranking his entire fellow citizens by recording something in what sounded like slang American English at a time when Italians would go nuts for anything that was.

That's certainly one interpretation, at least.  Adriano has also asserted that the song served primarily to describe a universal inability to communicate.  Either way, it hit paydirt in mainland Europe following its original 1972 release, and the extra few quid from the Easyjet usage has probably helped swell the pension coffers of the now 88-year-old Il Molleggiato (the springy one!) and Claudia Mori, the female soloist you can see and hear and Adriano's wife of 62 years and counting.  Awwww.

It's generally the intention of Straight In At to include three or four tracks from a chart on this date in history, but as has been hinted at previously, some historic charts from eras of less volatile chart movement would see barely penny numbers of entries from one week to the next.  

Hence nothing, as originally intended, from April 18th 1971, a chart whose only two new tracks were Séverine's then newly crowned Eurovision winner for Monaco (already included in one That Music List Eurovision special not long before the hiatus) and The Rolling Stones' Brown Sugar, a track I could never abide even before I - and, eventually, the band themselves - grasped the full problematic extent of its contents.

April 18th 1976 it is instead, then, and the perfect excuse to include one of my two favourite tracks by The Four Seasons, and certainly my favourite of theirs not to feature Frankie Valli, incapacitated at the time by hearing issues.  

As a tale of fantasies and dreams tempered by domestic obligations, the lyrics of Silver Star do the job economically whilst the sweeps of the beautiful musical arrangements and shifts in time change take the lead.  Drummer and locum lead vocalist Gerry Polci's voice was never a thing of conspicuous power, but it doesn't need to be here, the effort appearing less of a strain than it did at times on the preceding hit December 1963 (Oh, What A Night) - another reason, perhaps, why I much prefer Silver Star to the last-named.

Right back to the present day, the second album from one of 2026's real stories of interest, the enigmatic microtonal duo Angine de Poitrine, landed at the start of the month and is exactly the inventive, impeccably constructed insane genius you'd hope it might be.  

I feel honour-bound to remind people, however, that really interesting French-Canadian alternative rock wasn't invented by Khn and Klek de Poitrine; and whilst fellow Quebec residents Malajube may not inhabit precisely similar experimental territory, the four albums and smattering of singles they put out between 2004 and 2012 are well worth your time.  

Proggy and psychedelic, but not forbidding; new wave-informed, but not mimicry.  It's a shame that the trail has gone cold from them for fourteen years and counting, save for a couple of solo projects.

You might also like - well, hopefully most things, but especially:

  • Tic Tac Toe, doing j'accuse hip-hop inflected pop a good few years before Daphne & Celeste (though in turn well over a decade after fellow German Susi Klinger - rest assured I'll share a track from Susi on these pages one day),
  • They Must Be Russians, a band whose location and existence predates They Might Be Giants sufficiently to have not been inspired by their name, with a delightful thrash - recorded a stone's throw from my present place of work well over four decades ago - concerning an itchy problem or two,
  • Another important northeast England mid-1990s DIY indie punk artefact courtesy of Golden Starlet, later to beget the equally fine International Strike Force,
  • Something from Ozric Tentacles to which I surrendered far too many braincells and aching limbs on Oldham alternative dancefloors during my A-Level years (je ne regrette much),
  • Something shiny and new from The Foot And Leg Clinic, who on closer inspection appear to be fronted by Arion Xenos, multi-instrumentalist in List favourites The Just Joans as well as other acts.  A gentleman with fingers in many pies, therefore - maybe that's where all the fruit went.

J xx


Click on the video or link to play each tune (links last checked as all working 16/04/2026).




DOCH DER COUNTDOWN LÄUFT

I LOVE POP MUSIC AND I WILL FIGHT YOU


COMPILED BY CHET & BEE (AND SOMETIMES TIM)

IF WE DO, WE’LL KEEP IT ALIVE

IN LOVING MEMORY: Ebo Taylor













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Saturday, 11 April 2026

LIST 249 - 11/04/2026

Hello again,

This week has found your writer once more doing what he always promises himself he won't do ever again, and that's listening out for real or perceived factual errors during one of BBC Radio 6 Music's deep dives into a year or decade rather than just enjoying the music contained therein.

This last Wednesday's romp through 1991 certainly contained a few tracks that stretched the definition of "a track from 1991".  All on You (Perfume) by Paris Angels had already been a top 100 hit in July 1990, a whole year before its final reissue; whilst Good Beat by Deee-Lite was a 1991 single from a by then heavily milked World Clique album that had been released the previous August and recorded over the three years prior to that.  Defining sounds of 1991, then?  That's open to debate.

Harder to view in any way charitably was the insistence of one 6 Music DJ during the day that difficulties, and mistakes even, in pinning a track to a year were perhaps unavoidable, due to the absence of some historic release data.  In the present day, where a resource such as Discogs in particular can offer all of the clarification required, I'm not sure that argument flies.

I can quite believe that there may be the odd song or two innocently, but wrongly, attributed in any of the many Lists I've done dedicated to a given year.  I'd suggest, however, that a national music station has a greater resource of materials and people available to it to ensure error-free research than just little old me tapping away at a laptop when the kids are asleep.

If nothing else, the week's events have prompted me to revisit the two 1991 specials I published on That Music List at the back end of 2011 as List 79 and List 80.  Both have now had their links repaired and videos embedded in the current house style, making them the third and fourth vintage Lists to be so treated.  I'd like to get round to smartening up all 236 of the pre-hiatus Lists eventually, and whilst that's obviously no small undertaking my progress on that project, fitful as it will inevitably be, can be found here.

The other recent piece of 6 Music broadcasting to attract my attention was Guy Garvey's return to the Night and Day Cafe on Oldham Street, Manchester, which clearly informed him profoundly as a musician, band member and person.  It quickly became apparent, however, that Guy and I occupy parallel universes where our gig-going experiences at the late owner Jan Oldenburg's former chippy turned redoubtable gig venue are concerned.

Not for me the nights of seeing Elbow or I Am Kloot (two acts who practically owe their existence to the place), or the production line of Oasis-alikes that the gig booker interviewed had been asked to prioritise finding for a while.

Instead, the likes of Milky Wimpshake, Sally Skull, Urusei Yatsura, Helen Love, Superstar Disco Club, Polythene, Red Monkey, Godsister Helen, Dominic Waxing Lyrical, Coping Saw, Silver Apples, Alphastone, Marine Research, Bette Davis & the Balconettes, The Yummy Fur and Lung Leg.  Several of these - plus some of the doubtless plenty more I've forgotten to include - seen on multiple occasions, and all of them seen during a golden period from late 1996 until the end of 1999 (whereafter the trips across from my by then new Scarborough base started to become a bit much on a work night).

Highlights are too numerous to mention from among those acts named, though seeing Simeon Coxe III living and breathing - and manipulating those oscillators of his - on what were still at the time the very earliest stages of Silver Apples's comeback felt particularly special.

Bette Davis and Polythene carried a barely hinged menace about them that exhilarated; the former likely to try decapitating the audience with an instrument flung at a second's notice, the latter favouring covering such stage as there was with army netting and playing guitars with vibrators.


(Godsister Helen - Night and Day, Manchester, 09/10/1997.  Picture is author's own)

The above list will confirm that Scotland's bountiful mid-late 1990s supply of acts playing angular, concise, irresistible, third wave feminism-informed, Riot Grrrl-adjacent (inspired?) indie-pop punk fare found themselves reasonably well served by Night and Day, and as well as those named, I'm sure either or both of Dick Johnson and Pink Kross played there also.  

My memories of a tremendous set there by one such act, Glasgow's Lung Leg, have been stirred again latterly by the band's successful return from over two decades' hiatus and appearance in Since Yesterday, the 2024 documentary by Teen Canteen's Carla J Easton telling the story of - as Carla herself perfectly puts it - "the Scottish girl bands missing from bedroom walls".

The stories of the past six decades finally, and deservedly, given an audience and room to breathe in Since Yesterday are frequently as depressing as they are fascinating.  

Whilst Lung Leg's own may not necessarily have been characterised by sustained financial exploitation quite on the scale that befell sixties siblings The McKinlay Sisters (for all that some of them were obliged to sell their own furniture just to eat late on in the band's original lifespan), or else by the same assumptions as regards any future plans to have children as were made of the Hedrons only fifteen or so years ago, the frustrations at the frequent trashing from familiar bêtes noires such as the NME and misogynistic promoters and bookers were real enough.   

Just as real, however, and thankfully so, was (and is) the lasting sense of camaraderie, driven by a fanzine culture of a magnitude and productivity since lost to the mists of the time, and also by the efforts of Vesuvius Records' co-founder Pat Crook (from Melody Dog) and Sally Skull bassist and gig promoter Saskia Holling.  

Annie Spandex of Lung Leg noticeably swells with pride in recalling the evening that saw three of that cohort's bands, her own included, supporting The Raincoats at the Cathouse, whilst members of many others watched on.  Validation of their "primitive fizzy pop with punk noise" (Carla's words again) from the people who really mattered.

If you haven't already guessed, placing Lung Leg's two contributions to this week's List - one of them the fine comeback single from last year - right next to a recent single from Carla is entirely deliberate.  And if you can find a way to watch Since Yesterday - there are plans to show it again on BBC Scotland a week on Thursday (the 23rd), and it pops up occasionally on YouTube - you can be certain it comes with my unreserved recommendation.

Mention of the Silver Apples in that aforementioned list of Night and Day concerts seen leads me to touch briefly on Nothing Gonna Stop by Folk Implosion, a very affectionate tribute to that legendary act - numerous of their seminal tracks are namechecked - which I'd somehow not managed to pick up on before now in three decades of owning the parent CD single (Natural One) from which this b-side is lifted.  Dearie me.

Further similar oversights on my part corrected in this week's List include the specific tracks by David Holmes and The Holloways, each of which I could have sworn went up a decade and a half ago; and no less incredibly the first ever appearance in a List of briefly prolific Shinkansen signing Monograph.

Other potential highlights among the many other goodies this week may be:
  • A return to 2010 for One Million Year Trip, the Laetitia Sadier track which endures now as then as my favourite song of that particular year.  An in parts too personal a work to warrant just being buried under a band moniker, and coming into being at the same time as stumps were being drawn with both Monade and (in the event, temporarily) Stereolab anyway, the parent album The Trip had been recorded shortly before the suicide of Laetitia's sister Noelle, to whom the album was ultimately dedicated.  What a pity that her appearance at Indietracks five years later, in support of by then three solo albums, coincided with a some of the most biblical, crowd-thinning rainstorms that festival ever witnessed - it, and she, deserved better luck.

(Laetitia Sadier - Indietracks Festival, 26/07/2015.  Pictures is author's own)
  • In what's already been a year of extensive Cardiacs and Cardiacs-adjacent activity, here's some new output by Spratleys to enjoy.  Dates for their brief autumn tour with another former Tim Smith vehicle in Panixphere are helpfully attached to the end of the video - see you in Leeds. 
  • A charting rave track whose enigmatic title was rendered in as many different ways by DJs as the horse Xaipete was by racecourse commentators.
  • A bit of Nirvana, with this week marking the anniversary of Kurt Cobain's passing.
  • Some Bridewell Taxis to finish, by way of a tribute to the storied life of their recently passed singer Mick Roberts.

J xx


Click on the video or link to play each tune (links last checked as all working 09/04/2026).


FAVOURITE SONG OF THE YEAR: 2010


THEN AND NOW: Lung Leg


IF WE DO, WE’LL KEEP IT ALIVE


RAPPING SONGS


I WAS AN ARMCHAIR RAVER

IN LOVING MEMORY: Mick Roberts

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